Expressionism: This refers to art that is the result of the artist's unique inner or personal vision and that often has an emotional dimension. This was popularlized in Der Strurm, an avant-garfe periodical published in Munich.

Fauvism, German Expressionism, Abstraction, etc. All forms of Expressioism.

Some of these arts evoke emotional responses from the viewer, whereas others rely of the artists introspective revelations.

Often the artists would offend viewers and even critics, but they sought empathy ( connection between the internal states of artists and viewers) NOT sympathy.

Fauvism

pgs. 964&965

Artists: Matisse and Derain

In 1905 (3rd Salon d'Automne in Paris) group of artists under Henri Matisse, created pieces that were so simplified and so bright in color that critics referred to the artists as fauves (wild beasts).

The Fauves were independent of the French Academy and the official Salon.

This was driven by the desire to make an art that had the directness of Impressionism, but an intense color juxtapositions and emotional capabilities. They liberated color and used it both for expressive and structural ends.

They went beyond any earlier artist by newly intensifying color with contrasts of vermilion and emerald green and cerulean and orange held together by sweeping brush strokes and bold patterns.

The Fauves never really officially organized.

33.2 966

Red Room (Harmony in Red)

D: 1908-1909

P/S: Expressionism/20th Century/Fauvism

A: Henri Matisse (1869-1954)

Pa: N/A

L: Curr. St. Heritage Museum, St. Petersburg

M/T: Oil on canvas

F: Interior of a household with a maid placing fruit and wine on a table.

C: The color selection and juxtaposition creates a feeling of warmth and comfort. Everything is depicted very simplified and flattened out, ex. no front of edge of the table (makes the table as flat as the wall). But the colors create a richness and intensity.The color provoked an emotional resonance in the viewer.

DT: Color, Emotion, Striking

German Expressionism: Die Brucke (The Bridge)

Artists: Kirchner, Nolde

The boldness of the Fauve appealed to German Expressionists.

But, although they're pretty crazy about color, too., the expressiveness of their images is due as much to the distorted forms, ragged outline, and agitated brush strokes.

THUS,

they created "savagely powerful, emotional canvases."

The first group met in Dresden in 1905 under Ernst Ludwig Kirchner. The group though of themselves as paving a bridge between the old and the new.

These artists protested the hypocrisy and materialistic decadence of those in power. Most of the group moved to Berlin, a teeming metropolis. The tensions leading to WW1 greatened the tension and anxiety in the words of Die Brucke.

33.4 967

Street, Dresden

D: 1908 (dated 1907)

P/S: German Expressionism: Die Brucke

A: Ernst Ludwig Kirchner (1880-1938) Leader of Die Brucke. He focused on the negativity of industrialization, such as the alienation of the individuals in cities, which he felt fostered a mechanized and impersonal society.

Pa: N/A:

L: Most likely made in Dresden, Germany.

M/T: OIl on Canvas

F: Glimpse of the frenzied urban acitivity of Dresden before WW1.

C: The women loom large, approaching them mostly menancingly. steep perspective of the street, threatens to push the women directly into the viewing space, increases confrontational nature. The women seem zombielike and ghoulish. The clashing colors add energy. His perspectival distortions, disquieting figures, and color choices.

DT: none

German Expression: Der Blaue Reiter (The Blue Rider)

Artists and Founders: Vassily Kandinsky (1866-1944) and Franz Marc (1880-1916)

2nd German Expressionist Group formed in Munich in 1911.

This name was selected becayse of the leaders communal interest in the color blue and horses. This group produced paintings that captured their feelings in visual forms while also exhibiting intense visceral responses from the viewer.

33.6 969

Improvisation 28 (second version)

D: 1912

P/S: German Expressionism Der Blaue Reiter

A: Vassily Kandinsky Born in Russia, moved to Munich in 1896 and developed a spontaneous and avant-garde expressive style. Educated in philosophy, religion, history, and the other arts, esp. music. Read the theories of Einsteins era. Articulated his ideas in the treatise, Concerning the Spiritual in Art (1912).  He believed artists must express the spirit and their innermost feelings by orchestrating color, form, line and space.

Pa: N/A

L: Curr. New York

M/T: Oil on canvas

F: Eh?

C: Fueled his subtraction of represen. elements w/ his interest in theology, the occult, and advances in science.  Conveyed feelings with color juxtapositions, intersecting linear elements and implied spatial relationships. saw these as blueprints for a more liberated society emphasizing spirituality.

DT: none

33.7 969

Fate of the Animals

D: 1913

P/S: German Expressionism: Der Blaue Reiter

A: Franz Marc. He grew pessimistic about the state of humanity, especially as WW1 loomed. His perception of human beings as deeply flawed led him to turn to the animal world. He thought they were more pure than humanity and more appropriate as a vehicle to express an inner truth. he created a "Male is blue, female is yellow, red is matter, etc" Based this correspondence between colors and emotions on his perceptions. He attempted to create an iconography of color.

Pa: N/A

L: Curr. Basel

M/T: Oil on Canvas

F: Animals appear trapped in a forest, some apocalyptic event destroying them.

C: Entire scene is distorted-shattered into fragments. More sign. the lighter and brighter colors -the passive gentle, and cheerful onesare absent. The colors are severe and brutal.

DT: None

33.8 970

Gertrude Stein

D: 1906-1907

P/S: Abstraction

A: Pablo Picasso (1881-1973). Spanish artist. He made contributions to new ways of represent. the world. He explored virtually every artistic medium during his career. He reamined a traditional artist in making careful preparatory studies for each major work. Characterized the modern age.

Pa: Gertrude Stein

L: Currn. New York

M/T: Oil on canvas

F: After 80 sittings by Stein it was finally finished

C: He painted her head as a simplied planar form incorporating aspects of African masks and sculptures.

DT: Vivacious woman

33.9 971

Les Demoiselles d'Avignon (The Young Ladies of Avignon)

D: June-July 1907

P/S: Abstraction

A: Pablo Picasso

Pa: N/A

L: Possibly Barcelona, Spain

M/T: Oil on canvas

F: Originally a symbolic picture portraying male clients intermingling with women in the reception room of a brothel (Avignon street in Barcelona was located in the red-light district.) But by the time he had finished, he had eliminated all of the figures and simplified the rooms details. He became obsessed with the problem of finding a way to represent the female in their space.

C: He fractured ther shapes and interwove them with equally jagged lines that represent drawpery and empty space. The tension he created between the three dimensional space and his two dimensional design lying flat on the surface of a stretched canvas is a tension between representation and abstraction. He extended the radical nature by depicting them inconsistently. The ideal three on the left, were inspired by Iberian sculptures. The energetic features of the right emerged from his african sculpture. 

DT: shown only to fellow painters like Georges Braque.

33.73 1021

Guernica

D: 1937

P/S: Political Statement in the 1930s/aspects of Cubism (fragmentation of objects/dislocation of anatomical figures)

A: Pablo Picasso

Pa: The Spanish Republican Government

L: Created for the Paris International Exposition

M/T: Oil in canvas

F: Codemned the senseless bombing without specific reference to the event.

C: Background: In 1937, The Spanish Republican government in exile in Paris asked Picasso to produce the work for the Spanish pavilion at the paris International Exposition that summer. He was not inspired until he found out that Guernica, capital of the Basque region  (an area in S. france and n. Spain populated by Basque speakers) had been destroyed in an Nazi bomber air raid on April 26 acting on behalf of the rebel general Franciso Franco.This created a visceral outcry of human grief. Center- slain warrior clutching a useless sword. Bull represents "brutality"

Cubism

dubbed by Matisse when critiquing one of Braques pieces to a critic, as having been painted "avec des petits cubes" (with little cubes)

ArtistS: Braque and Bottle

Represents a radical turning point in art history.

This rejected naturalistic depictions and preferred

-compositions of shapes and forms abstracted from the conventionally perceived world.

Artists pursued analysis of form central to Cezannes artistic explorations, and dissected lifes optical spread.

For Cubists, art had to move far beyond the description of visual reality.

Rejection of accepted artistic practice illustrated the periods aggresive avant-garde critique of pictoral convetion and the public's dwindling faith in a safe, Newtonian world.

Critiqued traditional aesthetics.

First phase of Cubism: Analytic Cubism (Developed by Picasso and Braque). Involves analyzing form and investigating the visual vocab. for conveying meaning.

2nd phase of cubism: Synthetic Cubism: Men like Picasso, Braque. Artists constructed paintings&drawings from objects and shapes cut from papr or other materials to represent parts of a subject.

33.10 973

The Portuguese

D: 1911

P/S: Analytic Cubism

A: Georges Braque

Pa: N/A

L: Curren. in Basel

M/T: Oil on canvas

F: Derived the subject from his memories of a Portuguese musician seen years ago in a bar in Marseilles.

C: Dissected the mans form and placed it in dynamic interation with the space around it. Reduced color to monochromatic brown tones. Used subdued hues to focus the attention onto the form. Light and dark passages suggest chiarascuro modeling. Stenciled letters and numbers are flat shape and allow the viewers perception of two and three dimensional space. Visual vocabulary

DT: ambiuity and doubt

33.13 975

Bottle, Newspaper, Pipe and Glass

D: 1913

P/S: Synthetic Cubism

A: Georges Braque

Pa: N/A

L: Curren. Private collection, New York

M/T: Charcoal and various papers pasted on paper/Done in a variant of collage called papier colle (stuck paper), or gluing assorted paper shapes to a drawing or painting.

F: It's a bottle, newspaper, pipe and glass. duh.

C: The charcoal lines & shadows provide clues to the multiple views of surfaces & objects. Roughly rectangular strips of random printed and color paper dominuate the comp. The (false wood) faux bois paper with molding proves an illusion. All shapes seem to pushing forward and drop back into space. Complex visual interplay. visual game to be deciphered.

DT: none

33.12 974

Still Life with Chair-Caning

D: 1912

P/S: Synthetic Cubism

A: Pablo Picasso

Pa: N/A

L: Curren. Musee Picasso, Paris

M/T: Oil and oilcloth on canvas

F: Painting that included a piece of oilcloth pasted on the canvas after it was imprinted with the photolithographed pattern of a cane chair seat and framed with a piece of rope.

C: This challenges the viewers understanding of reality. The replicated chair seems so "Real" that one expects the wholes to break any brush strokes laid upon it. But it's just an illusion. Extended the visual play by making the letter U escape from the J and O. These letters appear in many cubist paintings. These formed part of the world jouer and jouir meaning to play and to enjoy.

33.16 977

Woman Combing Her Hair

D: 1915

P/S: Cubism Architecture (Synthetic?)

A: Aleksander Archipenko (1887-1964) Russian sculptor.

Pa: N/A:

L: Curre. Tate Gallery, London

M/T: Bronze

F: Statuette

C: Introduces, in place of the head, a void with a shape of its own that figures importantly in the whole design. The enclosed space penetrates the figures continuous mass and is a deined form. This showed that Cubists broke through the traditional limits and transformed the medium. This is still somewhat representational , but is still executed in the Cubist idiom.

DT: Um, weird?

33.17 977

Woman Combing Her Hair

D: ca. 1930-1933

P/S: Cubism

A: Julio Gonzalez, Friend of Picasso. (1876-1942) Spanish. Interested in the artistic possibilities of new materials and new methods borrowed from both industrial technology and traditional metalworking. He helped Picasso construct some of his welded sculptures.

Pa: N/A:

L: curr. Monderna Museet, Stockholm

M/T: Iron (On a rock, wtf?)

F: The fig. is reduced to an interplay of curves, lines, and places.

C: Complete Abstraction. Received limited exposure during his time, it became important for sculptors in subsequent decades who focused on the capabilities of welded metal.

DT: To be honest, I don't get it.

33.20 979

Unique Forms of Continuity in Space

D: 1913 (Cast 1931)

P/S: Futurism

A: Umberto Boccioni (1882-1916) used another Futurists representation technique(paintings) in his sculpture. He desired a full sense of motion.

Pa: N/A:

L: Currently Museum of Modern Art, New York

M/T: Bronze

F: Depict Motion

C: Highlights formal and spatial motion. The figure is so expanded, interrupted and broken that is disappears behind a blur of motion.

DT: Limited

33.23 981

Fountain

D: 1950 (Original produced 1917)

P/S: Dada

A: Marcel Duchamp (1887-1968) French Artist who migrated and became the central artist of New York Dada as well as was active in Paris at the end of the Dada movement. In 1913, he exhibite readymade sculptures, which were mass produced common found objects modified or combined with other objects. Some were created free of any consideration of good or bad taste.

Pa: N/A:

L: New York Curre. Philly

M/T: Ready-made glazed sanitary china with black paint.

F: A procelein urinal wih R.Mutt and dated.

C: Apparently the "Artness" of this object appears in the artist's choice of his object. It was rejected for an injuired show. You know why? Because it's stupid.

DT: Avant-garde

33.29 986-987

Nude Descending A Staircase No.2

D: 1912

P/S: Armory Show Dada

A: Marcel Duchamp

Pa: N/A:

L: Most likely New York

M/T: Oil on canvas

F: A single figure in motion down a staircase in a time continuum, like a sequence of overlaid film stills.

C: Although it is technically Dada, it totaly has more in common with the Cubist and Futurist movement. The monochromatic palette links to Analytic Cubism, as well as the faceted presentation of human form. Figure in motion is very Futurist.

DT: None

33.26 983-984

Merz 19

D: 1920

P/S: Dada

A: Kurt Schwitters (1887-1948) A Hanover Dutch Dada artist was inspired by Cubist collage but worked nonobjectively.

Pa: N/A:

L: Curre. New Haven

M/T: Paper Collage

F: It's literally "visual  poetry" through cast-off junk and crap from trash bins, which he pasted and nailed together into designs.

C: Merz derived from the word kimmerzbank which means commerce bank. It was a one word fragment that appeared in many of his dumb collages.I guess the old crap he pasted on there is supposed to generate new meaning and take on new uses and loations. Contradiction, paradox, irony, and blasphemy are of much this piece, as well as all Dada Art.

DT: None

33.27 984

Sixth Avenue and 30th Street

D: 1907

P/S: The Eight aka Ashcan School. These were eight American artists who gravitated into the circle of the influential and evangelical artist Robert Henri. He urged them to make pictures from life and they rapidly depicted the urban landscape of New York City. Because they often depicted seedy aspects of the city, they were often referred to as the "Apostles of Ugliness."

A: John Sloan (1871-1951) was a friend of Henri and part of The Eight. He was a window watcher, he wandered the streets of NY looking for human drama. Focused on the working class. He was in the Socialists Party in 1909.

Pa: N/A:

L: New York City

M/T: Oil on canvas

F: Depicts a bustling intersection full of people that are bracketed by the elevated tracks of the subway train on the left and the row of stores on the right.

C: These converge in the background. Captures a slice of American life. In the cross section of the background he places three women, one a drunkard(white dress) and the other two prostitutes that are being gawked at by men.

DT: Realistic

33.30 987

The Steerage

D: 1907 (printed 1915)

P/S From the Armory show and was an influence to American Art

A: Alfred Stieglitz (1864-1946) He established an art gallery on 291 FifthAvenue in NY (Came to be called 291, I wonder why..) Known for exhibiting the latest Euro and American art and played a role in the history of early 20th century art in America.

Pa: N/A

L: New York

M/T: Photogravure (on tissue)

F: A photo of his voyage to Europe with his first wife and daughter in 1907.

C: Shows his aestethic approach. He bored of 1st Class and would walk to the worst parts of the ship to take photos. He had an insistent modern focus. Haunting mixture of found patterns and human acitivty evokes major emotions.

DT: None

33.37 991

New York, Night

D: 1929

P/S: Precisionism

A: Georgia O'Keefe (1887-1986)  American artist. She moved from Texas to NY. She was married to Stieglitz.

Pa: N/A

L: New York

M/T: Oil on canvas

F: A depiction of the skyscrapers dominating the city at night.

C: As a precionist, she reduced it all to flat planes, punctuated by small rectangular windows that add rhythm and energy to the image, counterig the monolothic darkness of the looming building.

DT: None

33.45 998

Two Children Are Threatened By A Nightingale

D: 1924

P/S: Surrealist/Fantasy

A: Max Ernst (1891-1976). Originally an activist for the Dada movement in Cologne, Germany, he became of the catalysts of the Surrealist circle that Breton has previously anchored. He found existence fantastic and filled with marvels. But his service in the German Army in WW1 swept away his success as an expressionist. He created Frottage (crayon rubbings, like the ones you did at Canyon Park in the 2nd grade).

Pa: N/A:

L: Paris, France

M/T: Oil on wood with wood construction

F It's a private dream with a landscape, distant city, and the bird in traditional fashion. But rendered three sketchy figures and a literal three dimensional gate and closed building, and a bulky button knob.

C: Shows major dislocation and is ambiguous and related uneasily to what the spectator sees.

DT: Blow to the mind

33.46 999

The Persistence of Memory

D: 1931

P/S: Surrealist/Fantasy

A: Salvador Dali  (1904-1989) A spanish surrealist painter. Explored his psyche and dreams in his paintings, jewelry, and furniture and movie designs. He added a deeply erotic dimension to his work. He made his art in a "paranoic-critical methoc" by forcing himself to be paranoid.

Pa: N/A:

L: Curren. New York

M/T: On on canvas

F: Decpits a haunting allerfory of empty space where time has ended.

C: Errie never-setting sun illuminates the barren landscape. The amorphous creature sleeps in the foreground. Watches limply drap their melting bodies over scenery. Ants swarm over a small watch and a fly across its neighbore.

DT: Dreamscape

33.47 999

The Treachery (Or Perfidy) of Images

D: 1928-1929

P/S: Surrealism/Fantasy

A: Rene Magritte (1898-1967) A belgian surrealist painter. Expressed the dreamlike dissociation of image and meaning.

Pa: N/A

L: LACMA

M/T: Oil on Canvas

F: Viewers could no longer rely on rationality. Depicted a tromp l'oeil image of a pipe that under it says "This is not a pipe (Ceci n'est pas une pipe) a complete contradiction.

C: This challanges all reality of the visual art. Personally, a favorite piece of mine.

DT: Awesome

33.49 1000

The Two Fridas

D: 1939

P/S: Surrealist/Fantasy

A: Frida Unibrow...I mean Kahlo (1907-1954) Born to a Mexican mother and a German father, she used her life as powerful symbolds for the psychological pain of human existence. She creates autobiographical and psychic art. She is a Natural Surrealist. Her life became a battle for surivial against illness and stormy relationships.Married to Diego Rivera

Pa: N/A Frida herself?

L: Mexico City

M/T: Oil on canvas

F: Self-portrait of twin figures that sit side by side on a low bench in a barren landscape under a stormy sky.

C: These two represent two different sides of Frida. Linked by hands and a thin artery. She was nationalistic and true to her Mexican heritage and joined the Communist Party in 1920. This incorporates the stuggle facing Mexicans in the 20th century for identity. The right wears a Tehuana dress, the  left a European style dress.

DT: None

33.52 1004

Suprematist Composition: Airplane Flying

D: 1915 (dated 1914)

P/S Suprematist

A: Kasimir Malevich (1878-1935) Russian Suprematist artist. Developed an abstract style that conveyed his belief that supreme reality is pure feeling, attached to NO object. called for a new nonobjective form of art. The basic of this was the square.

Pa: N/A

L: New York

M/T: Oil in canvas

F: The brightly colored shapes float against and within and white space, and play in dynamic relationship with one another.

Used the purity of shape and color .

DT: None

33.53 1005

Column

D: ca. 1923

P/S: Constructivism (Bunch of crazzzzy Russians)

A: Naum Gabo (1890-1977) Russian-born. Believed art would spring from sources separate from the everyday world. The new reality was the "space-time" world. With his brother, he wrote the Realistic Manifesto. He built his sculptures piece by piece rather than carving or modeling them the traditional way. Most of his sculptures relied of the relationship of mass and space to suggest the nature of space and time.

Pa: N/A

L: Curr. NY

M/T: Perspex, wood, metal glass

F: meant so the viewer can experience the volumn of space it occupies.

C: Two transparent planes extend through its diameter, at right angles. The opaque colored planes at the base and inclined open ring set up counter rhythms to the crosssed upright planes.

DT: Kinetic movement

33.5 1006-1007

Composition with Red, Blue, and Yellow

D: 1930

P/S: De Stijl (1917) A bunch of Hollan artists full of utopian ideals and stuff, founded by Piet Mondriand and Theo van Doesburg. they also believed in a birth of a new age in the wake of WWI. Balance between individual and universal values, when the machine would assure ease of living.

A: Piet Mondrian

Pa: N/A:

L: Curr. USA

M/T: Oil on canvas

F: Limited his formal vocabulary to three primary colors (red, blue, and yellow) and three primary values (black, white and gray) and two primary diretions (horizontal and vertical). These were the purest and used to create harmonious compsitions.

C: Altered the grid pattern and size and placement of the color planes to create harmony and cohesion.

DT: Dynamic tension

33.56 1006-1007

Schrodor House

D: 1924

P/S: De Stijl

A: Gerrit Thomas Rietveld  (1888-1964). Came to the group as a cabinetmaker and made De Stijl furnishings throughout his career.

Pa: N/A

L: Utrecht, The Netherlands

M/T: Bunch of stuff

F: It's a house....duh.

C: Living rooms on the second floor with more private rooms on the ground floor. The house has an open plann and relationship to nature. Designed the 2nd floor entirely with sliding partitions that can be closed to define separate rooms or pushed back to create one open space broken into units strictly by the furniture arrangement.

DT: Rectangular planes.

33.59 1008-1009

Shop Block, the Bauhaus

D: 1925-1926

P/S: the Bauhaus

A: Walter Gropius

Pa: N/A:

L: Dessau, Germany

M/T: Metal, etc.

F: The building consisted of a workshop and class areas, a dining room, a theater, a gym, a wing with studio apartments, and an enclosed 2 story bridge housing administrative offices.

C: The Shop Block was the most dramatic wing. This was torn down by the Nazi gov't, but the main buildings were later reconstruction. The Shop Block housed a printing shop and dye works facility and other work areas. Reinforced in concrete, sheated entirely in glass. Simple.

DT: All furniture and light fixtures designed by the Bauhaus students and teachers.

33.64 1013

Villa Savoye

D: 1929

P/S: The International Style

A: Le Corbusier

P/A: N/A:

L: Poissy-sur-Seine, France

M/T: Concrete, etc.

F: Country Home

C: Only partially confined ground floor. three car garage, bedrooms, bathroom, and utility rooms. Much of the houses interior is open space. with thin columns as support. has no traditional facade.

DT: None

33.66 1015

Robie House

D: 1907-1909

P/S: Natural Architecture

A: Frank Lloyd Wright

Pa: Robie family?

L: Chicago, Illinois

M/T: Brick, etc.

F: "prarie house"

C: has a symmetrical wandering plan. Has intricately joined spaces grouped freely around a great central fireplace. Designed enclosed patio, overhanging roos, and strip windows. Provides unexpected light sources and glimpses of the outdoors

DT: None

33.68 1017

Kaufmann House (Fallingwater)

D: 1936-1939

P/S: Natural Architecture

A: Frank Lloyd Wright

Pa: The Kaufmann family

L: Bear Run, Pennsylvania, US

M/T: brick, natural resources and stones.

F: weekend retreat

C: Contrast in textures between concrete, painted metal, and natural stones in its walls enliven its shapes, as well as the full length strip windows. The message was space not mass. A space designed to fit the patrons life and enclosed and divided as required.Special pains to meet the clients requirements including gowns for his clients wife. A Usonian house.

DT: None

33.69 1018

Bird in Space

D: 1928

P/S: Organic Sculpture

A: Constantin Brancusi

Pa: N/A:

L: New York

M/T: Bronze (unique cast)

F: Final result of a bird at rest with its wing folded at its sides and ended with an abstract columnar form sharply tapered at each end.

C: The sculpture retains the suggestion of a bird about to soar in free flight through the heavens. He successed in capturing the essence of flight.

DT: It looks like a pen. Not a bird. Even if I do the arm motions like you did, Mrs.VanDyke. It looks like a big gold fountain pen.

33.72 1020

Untitled

D:1976

P/S: Organic Sculpture/Mobile (first of it's kind!) :D woo!

A: Alexander Calder

Pa: the National Gallery of Art in...

L: Washington D.C.

M/T: Aluminum honeycomb, tubing, and paint

F: Balanced structure handing from rods, wires, and colored, organicaly shaped plates.

C: Any air current would set the parts moving to create a constantly shifting dance in space When air currents activate the sculpture, its patterns suggest clouds, leaves or waves blown by the wind.

DT: None

33.76 1024

Nighthawks

D: 1942

P/S: Depression

A: Edward Hopper

Pa: N/A

L: The Art Institute of Chicago, Chicago

M/T: Oil on canvas

F: Rather than decpit historically specific scenes, he took a more generalized theme of the lonliness and isolation of modern life in the U.S.

C: Motion is stopped and life is isolated and time is suspended as if the artist recorded the major details of a personal memory. The darkened streets the viewer glimpses the lighted interior through huge glassplate windows, which lend the inner space the paradoxical sense of being both a refuse and a vulnerable place for the customers and counterman.

DT: None

33.77 1024-1025

No. 49 from the Migration of the Negro ( out of a series of 60 paintings of the same subject manner)

D: 1940-1941

P/S: Depression

A: Jacob Lawrence (an African American artist)

Pa: N/A:

L: The Phillips Collection, Washington

M/T: Tempera on Masonite

F: Shows the migration of African Americans to the northern cities for new jobs and social freedom after WWI, but instead were greeted with stark segregation.

C: Provides various vignettes captuing the experience of these migrating people. There's a sense of bleakness and degredation of African American life. It's a blatantly segregated room,. He depicted these with common arrangments of bold, flat, and strongly colored shapes. He drew some cubist inspiration as well as showed this palette of bluish green, orange, yellow, and grayish brown.

DT: Narrative

33.78 1025

American Gothic

D: 1930

P/S: Regionalism

A: Grant Wood

Pa: N/A

L: The Art Institute of Chicago, Chicago ( Friends of American Art Collection)

M/T: Oil on beaverboard

F: Focuses on rural scenes from Iowa, where he was born and raised. Catapulted Wood to national prominence. Became an American icon.

C: Depicts a farmer and his spinster daughter standing in front of a neat house with a small lancet window, typical to Gothic cathedrals. She wears a boring as apron set, he some boring ass overalls. Their both bored and severe.

DT: "quaint, humorous, and american!"

33.81 1027-1028

Ancient Mexico

D: 1929-1935

P/S: Mexican Muralists

A: Diego Rivera (husband to Frida Unibrow..I mean Kahlo) (1886-1957) In Mexio and the U.S. A staunch Marxist, committed to developing an art that served his people's needs. He sought to create a national Mexican style forcusing on Mexico's history and incorporates a popular aesthetic.

Pa: N/A:

L: from the History of Mexico fresco murals, National Palace, Mexico City

M/T: Fresco

F: Produced in a series lining the staircase of the National Palace in Mexico City.

C: Scenes represent the conflicts between the indigenous people and the Spanish colonizers. Rivera included portraist of important figures in Mexican hitory and the struggle for Mexican independence.

DT: Decorated, bold color.